Listen to the problem first.
Too many layers and too much gain create noise and blurry mids; over-limiting removes the attack that makes a mix feel heavy.
Metalextreme weight with definition, speed and control.
Metal needs density without losing readability. Guitars, double kick, bass and aggressive vocals must hit together without occupying exactly the same frequencies.
Mix Metal with AI →Decisions with intent.
Edit with intent, reduce amplifier gain, separate kick and bass roles and build width from real performances.
RECOMMENDED FLOW
Three steps. You keep control.
Prepare the session
Define intent, references, tuning, tempo, room and a clear file structure.
Capture with headroom
Choose microphones for source and room, control phase and preserve clean peaks.
Mix in context
Balance, automate and compare before mastering or applying a preset.
How to prepare and capture the performance
Decisions made before recording determine how much processing you will need later.
Less gain, clearer layers
Set distortion while hearing doubled guitars together. Fresh strings, stable tuning and consistent palm mutes matter more than another plugin.
Capture DI
Record clean guitar and bass DI alongside the amplifier. It enables reamping, precise editing and attack reinforcement without replacing the performance.
Recommended microphones and placement
Models are tonal references; the room, source and position matter more than the brand.
Cabinets
Blend an SM57 or e906 near the cone with a ribbon for body. Move by millimeters, check phase and do not add microphones by habit.
Drums and vocals
A Beta 91A-style boundary plus Beta 52A/D112 separates kick click and body. For aggressive vocals, SM7B or RE20 handles proximity and controls the room.
Compressors and peak control
Use compression with an audible purpose and always compare at matched level.
Drum attack
A dbx 160-style VCA controls kick and snare; set attack so the hit survives. Parallel compression can add mass without sacrificing transients.
Vocals and bass
A fast 1176 stabilizes screams; split bass into clean low and distorted mid bands when weight and definition need independent control.
From initial balance to final delivery
Technique should support arrangement and emotion rather than impose a fixed recipe.
Big guitars, not infinite guitars
Tight doubles often beat four imprecise layers. Filter only what is necessary and let bass connect kick and guitars.
Mastering
Control hardness around 2–5 kHz, keep kick and snare alive and check that distortion does not increase after encoding or normalization.
IN THIS GUIDE
Information you can apply.
- ✓ Actionable recording guidance
- ✓ Microphones by source type
- ✓ Purposeful compression
- ✓ Mixing and mastering without rigid recipes
Frequently asked questions
Should I record four rhythm guitars?
Not necessarily. Two solid, different performances often provide more clarity and width than four imprecise takes.
How much distortion do I need?
Less than it seems in solo. Bass, drums and guitars add density when heard together.
Which preset should I use?
Rock provides attack and weight. For already compressed material, begin with Neutral and adjust manually.
Your next release can start here.
Three mixes and one MP3 master included in Free. No card required.
Mix Metal with AI →